Lesson 1 Course Notes

Transcription

1 4 Week Online Photography Course Fine Art Colour Photography A Professional Guide to Understanding and Using Colour for its Maximum Impact in Your Photography Lesson 1 Course Notes By Phil Malpas

2 PAGE 2 Introduction The successful use of colour in photography is a fundamental creative tool. By understanding the concepts of Colour Theory we can arm ourselves with the ability to make key decisions that will greatly influence the success of our images. My name is Phil Malpas, welcome to your course on Discovering Colour. Aimed at all levels, this course will teach you to fully exploit the use of colour in your photography. In lesson one we will cover Colour Theory. In this lesson we will look at the basic relationships between colours and how we can use this information to generate harmony, discord, contrast and drama in our images. We will discover how to maximise and minimise the impact of colour combinations and look at individual colours and how they might affect the viewer s appreciation of our work. Phil Malpas

3 PAGE 3 Course Curriculm Week One: Colour Theory The first lesson will cover basic colour theory, analysing the way colours are created and their relationships with each other. Topics will include colour schemes, digital models for colour definition and how to use this information in practice to generate harmony, contrast and drama in your image making. Individual colours will be studied and their emotional, cultural and psychological impacts discussed. This basic grounding in colour theory is designed to give the student all the tools necessary to use colour to the maximum advantage. Week Three : Digital Colour & Filtration In this lesson, we will start by looking at a few examples of colour images where the colours themselves tell something of a story. Following that we will consider the importance of exposure, particularly in the digital world, and learn precisely why contrast is the enemy of colour photography. We will briefly analyse the RAW versus Jpeg debate and look at how we can manage colour successfully by using filters to help us to capture colour in all its glory Week Two : The Colour of Light The second lesson will cover Colour Temperature of various light sources and how to render them effectively using White Balance. Exactly how White Balance works will be discussed in detail. Students will be advised how human vision can be fooled and opportunities for fantastic colour images can be missed without careful attention to camera settings. We will also take the opportunity to look at false colour infrared, discuss how easy it is to do and look at the kind of effects that can be achieved in this exciting area of digital photography. Week Four : Using Colour In this lesson, we will start by taking a deeper look at the social, psychological and cultural meaning of colour. This will be followed by a look at the benefits of minimising the colour palette, de-saturating colours and the true beauty of monochrome. We will then move on to look at false colour infrared photography, how you might do it and what results you can expect. I d like to start by taking another, more detailed look at Red!

4 PAGE 4 Fine Art Colour Photography: Colour Theory Since its invention in the 1830s, there have been two major revolutions in photography. For more than half of its history, photographic visualisation was exclusively monochrome, exploiting form, texture and tone to create successful images. Contrast was managed through precise control of exposure and development to render a full range of tones in the photographic print. The colour of the subject matter was only of importance in relation to filtration which was used to alter the densities of various parts of the subject relative to one another. Almost 100 years later everything changed as full colour photography became commercially viable for the first time. Contrast became the enemy, as in excess it led to reduced saturation and the failure to capture the full glory of colour. Photographers were able to put texture and tone to one side and simply use the colour of objects as their key compositional tool. This required a whole new understanding of colours and how they interact together. More recently, the digital revolution has led to a deep analysis of the true meaning of colour and how to define specific tones, hues and degrees of saturation. Nothing is set in stone in modern photography. Individual tones can be enhanced, de-saturated, darkened or lightened for artistic effect. It has therefore become necessary for photographers to posses far greater technical knowledge about colour and its correct representation in their work. The prime objective of this lesson is to provide you with the tools and techniques to make better use of colour in your photography. Many of the concepts discussed might be viewed as second nature, but it is worth spending the time to analyse why some colour combinations achieve your desired effect and others do not.

5 PAGE 5 You should view this as the beginning of a wonderful relationship with colour. In the words of John Ruskin The purest and most thoughtful minds are those that love colour the most. Throughout history, mankind has put forward theories as to how colours are created and what exactly happens when they are mixed together. The Ancient Greeks, for example, believed that colours depended on the amount of light present, simply because colours could not be seen in the dark! In 1704 Sir Issac Newton finally made some sense of things when he published his great work Optiks, in which he stated that colour was actually a property of light itself rather than a physical property of objects emitting colour.

6 PAGE 6 Newton proposed a model using his Colour Circle in which he wrapped the colours of the visible spectrum around so that the red end joined the blue end. Using this tool he was able to demonstrate how each colour in the circle is related to its neighbours. Over the centuries, Newton s Colour Circle has been adapted and revised into a huge variety of Colour Wheels. The diagram shown here is called the Artists Colour Wheel as it demonstrates the relationship between different dyes, paints or pigments. RED This colour wheel is based upon the three fundamental or primary pigments, red, yellow and blue. This is probably the most common type of Colour Wheel you are likely to encounter, but from a photographic perspective we need to consider a different, if strikingly similar version. Rather than dealing with pigments or dyes, this colour wheel (known as the RGB Colour Wheel) relates to the relationships between colours of light (which is far more useful to us as photographers)! Each colour on the wheel is made by mixing light of the two adjacent colours. By analysing the positions of all the colours on this wheel we can learn a great deal about all colours and how they might interact. In order that we can discuss the RGB Colour Wheel in detail, we first need to establish a few definitions, give certain components of the wheel names and look at the actual meaning of each colour s position on the wheel. BLUE YELLOW At this point it is worth making a note of the fundamental nature of Red, Green and Blue which can be thought of as the building blocks of all colours in the digital world. All the myriad of different colours we see in our photographs are created from a combination of just these three. Computer screens, televisions and, of course, cameras work in the same way when creating colour. Red Green and Blue are so important that they are given the name Primary Colours. You might also notice how they are equally spaced around the colour wheel, something I ll return to later. The next three colours to consider are positioned between each pair of primary colours. They are Cyan, Yellow and Magenta and perhaps unsurprisingly these are collectively known as Secondary Colours. Each Secondary colour is made by mixing the two primaries closest to it. The Artist s Colour Wheel

7 PAGE 7 For example Cyan is created by mixing Blue and Green. It is also worth noting that each Secondary Colour (like all colours on the wheel) does not contain any of the colour opposite. So yellow contains no blue and for this reason it is sometimes known as Minus Blue. RED Finally we can take the remaining six colours which exist between the primary and secondary colours on the wheel. Again each of these is created by mixing the two colours adjacent to it, such that Orange for example, is a mixture of red and yellow. Collectively these six remaining colours are known as Tertiary Colours. Unlike Orange, they don t all have common names so the convention is to name them using the colours they are created from in the form Primary- Secondary. So by this route Orange is actually named as Red-Yellow with the other five being Green-Yellow, Green-Cyan, Blue-Cyan, Blue-Magenta and Red-Magenta. Of course there are more than just 12 colours in the real world. All of the colours we have been discussing so far are pure in that they contain no white or black. The term used to describe such pure colours is Hue which can be thought of as the dominant wavelength present. So Red, Blue, Cyan and Orange are examples of hues whereas pink and scarlet both have the hue red. In reality pure colours are rare and as can be seen in this image of a fishing boat in Sicily we are more likely to encounter colours that are mixed with varying degrees of white or black. So what we need is a model for describing all these non-pure colours as well BLUE GREEN The best way to imagine the HSV Colour Model is to think of tipping the colour wheel on its side and then extending it downwards to create a three dimensional cylinder. The centre of the wheel at the top of the cylinder is white and the centre of the wheel at the bottom is black. So a vertical line down the centre of the cylinder would contain all possible tones of grey. The RGB Colour Wheel

8 PAGE 8 As we progress outwards from the centre, each Hue is mixed with varying degrees of white or black depending on the height up the cylinder. The amount of white black or grey mixed with any Hue defines its Saturation. The lightness or darkness of any colour depends on the tone of grey mixed with it. This is known as its Value. Hence the HSV Colour Model (Hue, Saturation and Value) allows us to define any possible colour using just three terms. In order to fully understand the HSV Colour Model we need a couple more definitions. Colours that are mixed with white and made lighter are known as Tints, and colours that are mixed with Black and made darker are called Shades. These quantities can be precisely defined and such that every possible colour can be uniquely agreed upon by everyone. Now that we have accurately defined all the possible colours, it s time we turned our attention to the relationships between them. The first relationship, which is one of the most important, is the one between any two colours which are opposite each other on the colour wheel. This image of one of the fabulous blue domes on the Mediterranean island of Santorini gives a clue as to what we are looking for. Any two colours which are directly opposite each other on the colour wheel are known as Complementary Colours. In the diagram shown here, the two I have selected are Blue and Yellow. Any photograph which includes just a pair of complementary colours will exhibit the maximum colour contrast possible and therefore have greater impact. This is true even if the two colours are evenly lit and effectively of the same tonality, so that in a black and white image they might appear identical. It doesn t matter which two colours we pick as long as they are from the opposite sides of the colour wheel. The colour contrast we achieve will be greater if the colours in the subject are of pure Hue. In this image of a doorway in Trinidad, Cuba, the complementary colours I selected were blue and yellow. In this case, however, they are tints (mixed with white) and not of pure hue. For this reason the impact I was hoping for is slightly diminished. Of course modern software allows us to artificially increase the saturation of colours in our images and provided we don t go too far, it is possible to increase the colour contrast whilst making sure the image is still believable.

9 PAGE 9 This picture was taken at the amazing Font Magica in Montjuic, Barcelona. The fountains are lit by hundreds of coloured lights and perform their intricate dance to music in front of tens of thousands of admiring spectators. I have to admit to being slightly fortunate to capture a moment when the water was lit by red and cyan complementary coloured lights.

10 PAGE 10 This image, made in my local Arborteum contains rich green ferns and deep magenta rhododendron blooms. The conditions were heavily overcast and there is virtually no subject brightness range due to the soft, even lighting. If this were a monochrome image you might find it difficult to distinguish between the flowers and the ferns, yet the complementary colours provide fantastic colour contrast with all of the impact being delivered by the colours themselves. I have to confess that the majority of times I find complementary colours in a composition they tend to be yellow and blue. Natural subjects containing only green and magenta are extremely rare and difficult to find. Here is another example of the power of complementary colour. This beautiful chair was perfectly positioned on this veranda in the small rural village of Vinales in Cuba. The whole scene is in the shade which means it could only be taken in the early morning. This means that there is very little subject brightness range and all the contrast must be provided by the colours themselves. The strikingly painted yellow door adds the perfect colour contrast to the pastel blues in the rest of the scene. Some four years later I was lucky enough to be back in Vinales on another trip. Although I was delighted and amazed to find this special little chair in almost exactly the same place, it no longer presented the photographic opportunity I had enjoyed on my earlier visit.

11 PAGE 11 Both the chair and the door had been painted white and I hope you agree that the impact has been lost. One further consideration which has nothing to do with colour is that the small hatch in the door is closed off. I think this also prevents the viewer from thinking about what might be inside the building and this takes away a further level of interest. So far we have looked at maximising colour contrast using just two, complementary colours. There are also a number of other defined colour schemes that use more than two colours that we should consider. Firstly if we select any three colours that are equally spaced around the colour wheel, then these are known as a Triadic colour scheme. This is the way to gain maximum colour contrast from three colours in a composition. Red, Green and Blue and also Cyan, Magenta and Yellow are examples of Triadic combinations. If we wish to use four colours and still want to maximise the colour contrast, then as you might expect, the best way is to use two pairs of complementary colours. Any two pairs will do, remember that complementary colours are those that are opposite each other on the colour wheel.

12 PAGE 12 Although these more complex schemes are less like to occur for us photographically, they can still be of use to us. Perhaps you are looking to build your own website to showcase your work? If you are, you should consider the colours that you use carefully, and select those that either give contrast or as we shall see next, work in harmony. I have been lucky enough to spend many dawn s with my camera at Bliss Pond in Vermont. On this particular day the mist was beautifully lit as the sun crept over the horizon. Unlike all the colour combinations we have discussed so far the colours in this image exhibit minimal colour contrast. Previously we selected colours from opposite sides of the colour wheel to ensure that the colours themselves would generate impact, regardless of their comparative brightness. The difference here is that this image contains only colours that are next to each other on the colour wheel which promotes colour harmony.

13 PAGE 13 Here is another example of dawn at Bliss Pond. This image was made at the same time of year as the previous one, but the colours are quite different. There are a lot more areas of blue and cyan in this image, which tend to break up the colour harmony as they compete with the warm colours from the other side of the colour wheel. That doesn t mean that this image is less successful, just that it is likely to prompt a slightly different response from the viewer. The simplest way to generate Colour Harmony is to only use colours of a single hue. By using only tints and shades of a particular colour we can ensure that our work is devoid of colour contrast. An alternative approach is to only include colours that are next to each other on the colour wheel. Such groups of colour are called Analogous colours. In this diagram we can see Analogous Warm colours which spread from Red-Magenta through to Yellow. In analogous colour schemes

14 PAGE 14 we will cover in much more detail in lesson 2 when we discuss Colour Temperature and White Balance. Here are the Analogous Cool colours on the colour wheel, spreading from Cyan through to Blue-Magenta. By restricting our images to analogous colours we avoid colour contrast and promote colour harmony. it is useful for one hue to dominate whilst the surrounding colours provide highlights which enrich the overall appearance. Unlike the previous image from Bliss Pond this view of Skiddaw and Derwent Water from Kettlewell in the Lake District contains no warm colours at all. All the colours here are from the other side if the colour wheel and can be described as Analogous Cool colours. When viewing this image you can almost feel how cold it was at the time and the overall atmosphere is crisp and clear. Here is another image of Derwent Water, taken a little later on the same day as the previous one. Once again the analogous cool colours serve to enhance the feeling of cold the picture almost makes me shiver. Of course I have the very physical memory of what it was like to actually be there, but I think this image communicates the experience quite effectively. Being in the shade, the snow in the foreground is lit only by the deep blue sky above and consequently it has a heavy blue cast. This is something This transmits itself to the viewer and helps to trigger their response. Warm colours can generate a sense of well-being or even excitement, whilst cool colours are more akin to peace and tranquillity or even in some cases sadness. When selecting your photographic compositions, you should consider what emotional response you hope to generate in those that view your work. There is a final colour scheme for us to consider which combines the harmonious properties of analogous colours with the increased

15 PAGE 15 contrast of complementary colours. This colour scheme is known as Split Complementary. In this case a single colour is selected to dominate, but instead of contrasting it with its complement we choose colours that are analogous to that complement. In the Split Complementary Colour Scheme, contrast is still high, but the two analogous colours add a degree of harmony. Once again it doesn t matter which colours we choose as long as they are relatively positioned in the way shown in this diagram. We have now studied the RGB colour wheel in quite a bit of detail and have concentrated on the effects colours have on each other. In all the examples we have seen so far we have considered the impact of different colours and how they interact with each other. I would now like to move on and think about what happens when we mix colours together. At the beginning of this lesson I mentioned that the RGB Colour Wheel relates to the colours of light. There is a recognised system that describes what happens when we mix light of different colours together which is called the Additive Colour System. Our modern day understanding of the colour and properties of light owes much to the pioneering work carried out by Sir Isaac Newton in the latter part of the 17th century. Newton showed that a prism could break white light down into its component colours and that a further arrangement of prisms could refract the light back into its original form. In his landmark paper entitled Optiks Newton famously stated that For the rays to speak properly are not coloured. By this, he meant that colour is a psychological phenomenon rather than a physical one.

16 PAGE 16 This diagram represents the Additive Colour System. It relates to light that is emitted, so rather than referring to an object that has the property of being red, it demonstrates what happens when a light source emitting red light is mixed with other light sources. If we mix two light sources of the primary colours, the result is one of the secondary colours. If we mix all three primary colours the resulting light will be white. pure yellow light (which is light of a single wavelength). The important thing to realise is that both stimulate our brains to give the same result which is a psychological impression to which we give the name Yellow. Hopefully this clarifies what Newton referred to when he stated that colour isn t actually a physical property of light. This diagram is an alternative way of describing the Additive Colour System. Yellow is made from Red and Green and contains no blue, a fact we discovered earlier when we looked at the RGB Colour Wheel. It is also worth noting that a mixture of Red and Green light of equal amounts (that is light of two different wavelengths) is quite different from The opposite theory to Additive Colour Theory is logically named Subtractive Colour Theory. This theory describes how to mix paints, dyes and inks to create colours which absorb some wavelengths of light and emit others. This is an important theory to us as photographers, because it details how colours are created in photographic prints.

17 PAGE 17 Any of you that own an inkjet printer, for example, will be familiar with the fact that the inkset is generally a combination of Cyan, Magenta and Yellow. These are the colours of the subtractive world! Here is the diagram for Subtractive Colour Theory. Any object in the real world which absorbs the primary colour red, will reflect the other two (Green and Blue). This combination will therefore make that object appear to be Cyan in colour. To be clear, the object has no physical property that makes it Cyan, it simply reflects Green and Blue light. So a ripe banana appears to us to be yellow, not because it emits yellow light as in the additive world, but because it absorbs blue light and reflects everything else. If no white light is present then the banana will be in the dark and we will be unable to distinguish its colour. This diagram shows the theoretical results from mixing dyes or pigments in equal amounts. It might be helpful in the subtractive world to think of Cyan, Magenta and Yellow as being primary colours and hence Red, Green and Blue become secondary. In practice no dye or pigment is pure enough to give these precise results. Mixing all three subtractive primaries should in theory give black but actually the only possible result is a muddy brown. Consequently in our printers a fourth ink is added to the inkset namely black. The Cyan Magenta and Yellow inks are then used to create the Hue and the Black ink (abbreviated to the letter K ) is used to generate the value. The subtractive process is often referred to as CMYK after the four inks used in printing.

18 PAGE 18 An important lesson to learn from these theories from a photographic perspective is that objects will only be perceived as their true colour if they are illuminated by pure white light. In the real world this is rarely the case, and the colour of the light source has an enormous impact on our photographic results. In this image taken at dusk in Venice, the colour of everything in the frame is influenced by the warm evening light. This is something I shall cover in a lot more detail in Lesson 2 when we look at Colour Temperature and White Balance. To summarise, we have looked into the relationship between different photographic colours and analysed these diagrammatically using the RGB colour wheel. We have used this information to consider how to maximise colour contrast and introduce colour harmony into our work. We have looked at various colour schemes and considered the properties associated with them. Lastly we have covered both Additive and Subtractive colour, the psychological nature of colour and the way that objects appear to us to have an intrinsic property which we call colour. This preparatory base will enable us to delve deeper into the meaning of colour and the vital importance of the colour of light in our photography.

19 PAGE 19 First Published in 2013 by MyPhotoSchool Ltd Copyright 2013 MyPhotoSchool Ltd. (All rights reserved) Text by Phil Malpas Photographs by Phil Malpas